After years of moving between cities, including a decade in Berlin, I’m currently based in Málaga. Moving the studio now requires two full trailers, so I don’t take it as lightly these days, though knowing my track record I wouldn’t rule it out either.

I started with an interest in science, product design, and architecture, but formally trained in Fine Arts. Later, I finished postgraduate studies in Art & Technology, Art in the Public Sphere, and Multimedia Production. That mix didn’t produce a style, but a way of thinking where materials and making are a form of understanding, and where the format of the result matters less than the logic behind it.

My work starts with observation, literally. Watching how people behave, how space responds to presence, how time alters matter. An exploration of the underlying tensions that structure how we perceive and interact with the world, and what they reveal when made tangible. When something ordinary catches my attention, a detail that’s overlooked simply because it has always been that way, I follow it looking for the logic behind it, the behavior that produces what we end up experiencing.

Each project begins with a system that’s in the background and asks what happens if you give it its own shape. The gap between what we think we see and what’s actually there is where the work lives.

Early on, I learned that complex ideas tend to collapse when execution is fragmented. So I took a different approach: staying involved from concept through fabrication, treating design, engineering, and production as parts of the same thinking process rather than sequential handoffs.

When you understand how something is made, you make different decisions about what it should be. The studio has the infrastructure of a production company and the working logic of an artist’s workshop. That combination is deliberate, and genuinely difficult to find elsewhere.